I make paintings and objects largely as memori-
als to commemorate the more internal, lonely and
ephemeral aspects of life. When I work I like to
think about the universe in an animistic sense
that encompasses all of the natural world includ-
ing our ancestors, animals, plants, insects, the
elements - and the life forces and experiences
connecting all of these.

Most of the paintings are oil paint with oil stick on linen. Generally, oil paint is mixed with a medium of stand oil, turpentine, and damar varnish and applied with a brush to a surface for a color base.  I then use oils sticks to draw marks and repeat this layered process until it feels complete. Exactly when this happens is somewhat unclear but at the moment it is-in and of itself.

Various cultures and religions incorporate mysticism into their ideas of the universe and the natural world. When something dies or changes - what happens when that something previously existing is no longer visible. Is it worthwhile to contemplate the meaning of time or of the time passing? Can art resist intellect as its primary energy source, like poems that you should not try to examine but might want to feel?

Looking at bark, rocks, branches of trees, the layers of leaves that are broken into patterns of their own, I must be more a part of this than something civilized. I might have mostly forgotten the feral self that is underneath it all but still calls and wants to be heard. How can you feel connected with the elemental forces and show them in a drawing or a painting. Many so-called outsider or self-trained artists depict that quality in their work. I share in that visceral manifestation of some form of experience that is outside of words or other form of expression through a personal language, code, or more likely a transmission to the unknown, forgotten, or lost. 

Edwina Time Traveler is a protagonistic character who appears in found settings and tableaus along with other actors, found objects, and environments.

As in the process of the Surrealist game of “Exquisite Corpse” the participants in Edwina Time Traveler are active agents in the making of the work through collaboration and collusion. In “Exquisite Corpse”  one person draws on a piece of paper, folds it over and then passes it to another person for them to add their drawing onto the blank part of the paper. Finally when the paper is full, the drawing is unfolded and an image with its own meaning independent of the parts or the individual artist emerges. Many other artists have used a similar technique like Joseph Cornell in the construction of his miniature ”shadow boxes” or Robert Rauschenberg and his anthropomorphically scaled “Combines”.

Each of us is an actor traveling through our own time. We all wear a costume or a mask in this collective collage. As Edwina is the protagonist in this drama called Edwina Time Traveler, so does everyone have someone or something that appears and changes the direction or course of their own travels.

"Man is least himself when he talks in his own person. Give him a mask and he will tell you the truth." - Oscar Wilde